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Relevant bibliographies by topics / 1368-1644 (Dynastie des Ming)

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Academic literature on the topic '1368-1644 (Dynastie des Ming)'

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Published: 4 June 2021

Last updated: 14 February 2022

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Journal articles on the topic "1368-1644 (Dynastie des Ming)"

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Jia, Dan, Yikai Li, and Xiuqi Fang. "Complexity of factors influencing the spatiotemporal distribution of archaeological settlements in northeast China over the past millennium." Quaternary Research 89, no. 2 (February 22, 2018): 413–24. http://dx.doi.org/10.1017/qua.2017.112.

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AbstractRelic archeological settlement is used to indicate the development of agriculture. We extracted 8865 relic archeological settlements from theAtlas of Chinese Cultural Relicsto analyze how the spatiotemporal distribution of archaeological settlements was influenced by temperature changes and social factors during the last millennium. During the Liao dynasty (AD 916–1125) and Jin dynasty (AD 1115–1234) in the Medieval Warm Period (MWP), a large number of settlements indicated the development of agriculture as far north as 47°N. The warm climate of the MWP provided sufficient heat resources to promote the implication of positive policies of the Liao and Jin dynasties to develop agriculture and settlements. By contrast, during the dynasties of Yuan (AD 1279–1368), Ming (AD 1368–1644), and Qing (AD 1644–1911) in the Little Ice Age (LIA), the number of settlements declined drastically, and the northern boundary of the settlement distribution retreated by 3–4 degrees of latitude to modern Liaoning Province. Although the southward retreat of the settlements and related agriculture occurred in the cold climate of the LIA, it could not be completely explained by the drop in temperature. Social factors including nomadic customs, ethnic policies, and postal road systems played more important roles to the northern boundaries of the settlement distributions during the Yuan, Ming, and Qing dynasties.

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Jianhua, Chang. "Sacrifices aux ancêtres, structuration des lignages et protection de l’ordre social dans la Chine des Ming: L’exemple des Fan de Xiuning." Annales. Histoire, Sciences Sociales 61, no. 6 (December 2006): 1317–75. http://dx.doi.org/10.1017/s0395264900030055.

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RésuméLes formes nouvelles de lignages(zongzu) qui se font jour en Chine à partir de la dynastie des Song (960-1279) sont au cœur de l’histoire des structures et des mutations de la société, d’où l’importance de leur étude. Les recherches ont fait apparaître que l’époque des Ming (1368-1644) fut un moment clé dans la formation de ce nouveau type de lignages. Les puissants lignages de la préfecture de Huizhou, dans la province actuelle du Anhui, ont en particulier retenu l’attention en raison de l’abondance des documents les concernant. Nous tenterons ici d’étudier, à partir de facteurs de nature politique, les transformations et la structuration des lignages de Huizhou sous les Ming, espérant ainsi contribuer à un approfondissement de notre compréhension du phénomène1.

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Ditmanson, Peter. "Moral authority and rulership in Ming literati thought." European Journal of Political Theory 16, no. 4 (May 1, 2017): 430–49. http://dx.doi.org/10.1177/1474885117706181.

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This article explores the crises and debates surrounding the management of imperial family matters, especially succession, under the Ming Dynasty (1368–1644) as an approach to understanding the limits of imperial power and the nature of literati discourse on the imperium. Ming officials and members of the literati community became passionately engaged in the debates on imperial family decisions, regarding the moral order of the imperial family as a key feature of their prerogatives over imperial power. This prerogative was based upon claims to Neo-Confucian moral authority. Over the course of the dynasty, these claims grew increasingly widespread and increasingly vociferous.

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Farmer, Edward L., Frederick W. Mote, and Denis Twitchett. "The Cambridge History of China. Volume 7, The Ming Dynasty, 1368-1644." American Historical Review 95, no. 5 (December 1990): 1601. http://dx.doi.org/10.2307/2162852.

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Dardess, John, Frederick W. Mote, and Denis Twitchett. "The Cambridge History of China, Volume 7: The Ming Dynasty, 1368-1644." Journal of the American Oriental Society 110, no. 1 (January 1990): 108. http://dx.doi.org/10.2307/603917.

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Dodgen, Randall. "Hydraulic Religion: ‘Great King’ Cults in the Ming and Qing." Modern Asian Studies 33, no. 4 (October 1999): 815–33. http://dx.doi.org/10.1017/s0026749x99003492.

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In the middle years of the Ming (1368–1644) dynasty, temples dedicated to the Fourth Son Golden Dragon Great King (jin long si da wang) began to appear on dikes and in administrative centers along the Yellow River and the Grand Canal. The Golden Dragon cult originated as an ancestral cult dedicated to an apotheosized Southern Song (1127–1280) patriot from the Hangzhou area. It later became popular with boatmen and merchants who travelled on the Grand Canal. Beginning in the sixteenth century, hydraulic officials promoted the cult as an adjunct to their administration of the Canal and the Yellow River.

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Li, Yuhang. "Embroidering Guanyin: Constructions of the Divine through Hair." East Asian Science, Technology, and Medicine 36, no. 1 (August 13, 2012): 131–66. http://dx.doi.org/10.1163/26669323-03601005.

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Hair embroidery was a particular technique practiced by lay Buddhist women to create devotional images. The embroiderers used their own hair as threads and applied them on silk to stitch figures. This paper will analyze the religious connotation of hair embroidery, the ritual process and the techniques for making hair embroidery in the Ming (1368-1644) and Qing (1644-1911) dynasties. By tracing its appearance in both literary texts and actual surviving objects, this essay will ask how and in what circumstances human hair was applied to embroidery? What was the significance of transferring one’s own hair onto an icon? How did hair embroidery combine women’s bodies (their hair) with a womanly skill (embroidery) to make a unique gendered practice in late imperial China?

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Jeong, Eun-joo. "Beijing, the Capital City during the Ming Dynasty(1368-1644) through Documentary Paintings." Journal of Ming-Qing Historical Studies 50 (October 31, 2018): 53–88. http://dx.doi.org/10.31329/jmhs.2018.10.50.53.

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Li, Jingjing. "Far and Near: A Parallel Study between Lorenzo Valla and Li Zhi." Ming Qing Yanjiu 22, no. 1 (November 14, 2018): 13–44. http://dx.doi.org/10.1163/24684791-12340019.

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Abstract The fifteenth-century Italian humanist Lorenzo Valla (1407–1457) and the Chinese philosopher of the Ming Dynasty (1368–1644) Li Zhi 李贄 (1527–1602) are both famous for their rebellion against the mainstream culture of their respective nations and times. A parallel study of the writers allows us to consider fifteenth-century Italy alongside sixteenth-century China, and vice versa. The similarities and differences provide perspective on both cultures, and on the reciprocal influence between philosophy and social development.

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Chen, Tao, and Ze Neng Wei. "Preliminary Study on Memorial Archways in Ancient Huizhou of China." Advanced Materials Research 133-134 (October 2010): 1179–84. http://dx.doi.org/10.4028/www.scientific.net/amr.133-134.1179.

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During Ming (1368-1644) and Qing Dynasty (1644-1911), many memorial archways were built in ancient Huizhou. They were regarded as culture symbols of Chinese ancient architectures. Owing to the natural and man-made disasters, many of them vanished with time. Today, in total 129 memorial archways scatter in the ancient Huizhou district. In this paper, the origin, development and culture connotation of Huizhou memorial archways are discussed with examples of existing ones. At last, several risks to these memorial archways are presented, which can be categorized as natural reasons, including weathering, flood and landslide etc., and man-made reasons such as demolition, influences of adjacent modern constructions. Several risks were illustrated with example of Tangyue Memorial Archway group, which indicates the urgency of conservation.

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Dissertations / Theses on the topic "1368-1644 (Dynastie des Ming)"

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Paul, Carmen. "Das Kommunikationsamt (T'ung-cheng shih ssu) der Ming-dynastie (1368-1644) /." Wiesbaden : Harrassowitz Verlag, 1996. http://catalogue.bnf.fr/ark:/12148/cb40112242t.

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Bianchi, Alice. "Mendiants et personnages de rue dans la peinture chinoise des Ming (1368-1644) et des Qing (1644-1911)." Thesis, Paris, INALCO, 2014. http://www.theses.fr/2014INAL0017.

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Cette étude porte sur une tradition picturale méconnue, celle des Liumin tu (portraits d’errants, de mendiants, etc.), et se propose d’analyser et de définir ce genre avant qu’il ne sombre dans l’oubli général. Cette tradition se rattache à l’œuvre de Zheng Xia (1041-1119) qui, en 1074, soumit au trône un mémoire accompagné d’une peinture représentant les victimes d’une famine, pour demander des secours et dénoncer l’origine politique de la crise. La première partie de ce travail est consacrée au prototype du genre et à sa postérité directe : les mémoires illustrés, produits à partir de l’époque Ming par des fonctionnaires. Nous nous sommes interrogée sur les procédés employés pour décrire et mettre en image la catastrophe et ses victimes, mais aussi sur les fonctions de ces ouvrages et leurs modalités de transmission. Au XVIe siècle, apparaissent également des peintures qui présentent, à côté des réfugiés, des mendiants et d’autres déclassés. Au moins deux grands types émergent : les œuvres qui s’attachent à souligner les souffrances de ces gens, et celles les dépeignant dans des situations comiques ou grotesques. Dans la deuxième puis la troisième partie, nous suivons parallèlement le développement de ces deux traditions aux époques Ming et Qing. Il est apparu que si certaines œuvres décrivent les misères de ces chemineaux pour indigner et émouvoir le spectateur, comme les mémoires illustrés, d’autres présentent les maux de la société à travers ces personnages. Les peintres pouvaient combiner ces deux niveaux de commentaire dans une même œuvre et tenir plusieurs discours, suivant les situations auxquelles ils étaient confrontés et le public auquel ils s’adressaient
This dissertation focuses on a neglected tradition in Chinese painting known as Liumin tu (images of refugees, beggars, etc.), and proposes to define and analyze this genre, lifting it from general oblivion. This tradition is associated with Zheng Xia, who, in 1074, submitted a memorial to the throne along with a painting of disaster refugees in order to request assistance and denounce the misguided politics of the time. The first part of this study is devoted to the genre’s prototype and to a selected group of illustrated memorials produced by officials during the Ming and Qing period. The examples analyzed prompt an inquiry into the methods used to describe and paint disasters and their victims, the functions of these works, and their modes of transmission. In the 16th century, paintings appear that also present, alongside refugees, beggars and other street characters. At least two types emerge during this era: paintings endeavoring to highlight the plight of these people, and those depicting them in comic or grotesque situations. The second and third parts of this dissertation follow the developments of these two latter genres. It emerges that, while some works deploy the misery of these vagrants to move the viewer and fill him with indignation, as the illustrated memorials do, others instead aim to portray the ills of society through these same characters: beggars symbolizing those who beg for favors; blind people serving as a metaphor for people blinded by power and glory, and so on. Painters could combine these two levels of commentary in the same work and take different stances, depending on the situations they faced and the public they addressed

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Feng, Yu Cheng. "Etude critique de trois versions commentees du xiyou ji -- lizhuowu xiansheng piping xiyou ji ("xiyou ji commente par maitre li zhi") -- vers 1625 ; xinjuan chuxiang guben xiyou zhengdao shu ("nouvelle gravure d'une edition ancienne du "voyage en occident" qui demontre la voie (taoistei) -- 1662; xijou ji zhenquan ("la vraie signification du xijou ji") -- 1694." Paris 7, 1997. http://www.theses.fr/1997PA070104.

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Le xiyou ji (1592, la peregrination vers l'ouest) est avant tout un livre d'eveil. La quete du moine historique xuanzang (environ 602-664) se revele etre la quete de chacun d'entre nous, desireux de mieux se connaitre. Quelle est la place de l'homme dans la societe et dans l'univers? face au cours changeant des choses quelle attitude convient-il d'adopter ; l'option bouddhique conduisant au nivana face auquel le monde de l'impermanence ne releve que de la verite relative? ou bien l'option chinoise considerant l'absolu comme faisant partie du processus du perpetuel devenir? le perlinage sur la trace du bouddha et la quete des soutras, entrepris par le tripitaka des tang prennent un aspect fantastique grace a la presence des quatre personnages aux pouvoirs surnaturels -- sun wukong (conscient-de-la-vacuite), zhu bajie (conscient-de-ses-capacites), sha heshang (conscient-de-la-purete), le cheval-dragon -- et grace aussi aux multiples aventures plus extraordinaires les unes que les autres qui nous sont contees. Or, curieusement, le recit de ce voyage au-dela de la frontiere du monde connu se revele capable de renvoyer au reel et d'engager une discussion sur le sens de la vie, en impliquant les trois enseignements traditionnels chinois-- neo-confucianisme, bouddhisme et taoisme. En effet, a travers la culture du commentaire -- pingdian, particuliere aux lettres chinoises, un espace de dialogue est instaure par les commentateurs qui tentent de degager une signification autre que celle vehiculee par le recit au premier degre. Grace a ce meta-espace, certains themes essentiels sont souleves : la representativite du singe-coeur pour le coeur-esprit de la voie -- daoxin -- et le coeur-esprit de l'homme -- renxin --; l'intelligibilite de ce pour quoi est l'univers a travers l'extra-ordinaire, etc. Le premier theme reflete la preoccupation des neoconfuceens vis-a-vis de la deviation des etudes du coeur-esprit-- xinxue. Le second theme repond a la confiance fondamentale des chin

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Laurent, Cédric. "La peinture narrative à sujet littéraire en prose sous les Ming (1368-1644)." Paris, INALCO, 2004. http://www.theses.fr/2004INAL0012.

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Une réflexion sur la définition de la peinture narrative chinoise en rouleau horizontal, comme représentation séquentielle continue d'une histoire a permis de former un corpus cohérent : les oeuvres furent peintes entre 1526 (date de réalisation de la première) et la fin de la dynastie , par des peintres de l'Ecole de Wu (Suzhou) quasi-exclusivement. Les peintures sont inscrites dans la continuité d'une tradition picturale ancienne, ce qui nous a conduit à étudier leur système de citation stylistique (notamment l'utilisation du "bleu-vert" ) et dde référence aux grands noms de la peinture ancienne. Les peintures narratives sont des illustrations de textes en prose. Ces textes, bien antérieurs aux peintures de notre corpus, sont constitutifs d'une tradition appelée guwen. L'aspect littéraire des peintures est un axe prédominant de l'étude. Les textes de référence ont été traduits et mis en rapport étroit avec les peintures afin d'en mieux comprendre le mode de représentation. Les peintures narratives sont conçues comme des commentaires aux textes de référence dans lesquels les peintures emploient nombre de poncifs pour alimenter un imaginaire et apporter des références littéraires, autant de motifs qui enrichissent la lecture des textes illustrés. L'étude du contexte culturel, principalement autour de la figure de Wen Zhengming (1470-1559) a mis en évidence l'intérêt que les intellectuels de Suzhou portaient au guwen. La référenciation littéraire étant l'enjeu principal, l'idée de "peinture littéraire" semble être une notion essentielle à une époque où la "peinture lettrée" ne se définissait pas encore par un style déterminé
Chinese narrative painting in hand scroll format is defined as a sequential representation of a story in a continuous landscape. The paintings that constitute the corpus had been realized between 1526 and the end of the dynasty, essentially by people of the region of quotation (use of 'blue-and-green' landscape, for example), and their references to the great masters. But the Chinese pictorial narration in early modern China is primarily an illustration of classical prose texts, and those texts are also devoted to a literary tradition, that comes from earlier period than the Ming dynasty. The literary aspect of the painting has been considered as the central direction for this study. The textual references has been translated and presented in order to be compared to the iconography of the paintings. This narrative paintings were made as commentary for their literary reference, in which pictorial clichés are used to enrich imaginary and to bring new literary references. The study of the cultural cortex, around Wen Zhengming (1470-1559) character has brought to light the importance of the guwen (old-style-prose) for Suzhou's intelligentsia. Much more than a 'literati style in ink and brush', what was understood until now as a 'literati painting' in the Wu school can therefore be observed with a new point of view, introducing the importance of the literary reference, as a 'literary painting'

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Liou, Tzeng Chyuan. "Les Colonisations agricoles (colonies militaires, colonies marchandes et colonies agricoles) sous la dynastie des Ming : 1368-1644." Paris, EHESS, 1989. http://www.theses.fr/1989EHES0030.

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Ma these comprend six parties, dont le contenu est le suivant: dans l'introduction, je presente l'essentiel des documents historique sur lesquels je me suis appuye pour rediger ma these, ainsi que la methode que j'ai utilisee. La deuxieme partie donne une description du regime des colonies militaires, et j'essaie de definir ce qu'implique ce regime : l'origine des garnisons et des postes, les familles de l'armee, et enfin la formation, l'apogee et le declin du regime des colonies militaires. La troisieme partie analyse les resultats obtenus, sur le plan economique, par les colonies militaires, en centrant ma recherche sur le hexi, le liaodong, le yunnan et taiwan. Dans la quatrieme partie, je decris les differences qui existaient entre colonies militaires, colonies paysannes et colonies marchandes, et j'essaie plus particulierement de comprendre leur organisation, leur nature et leurs resultats. La cinquieme partie traite de l'effondrement du systeme des colonies militaires, et je me penche sur les raisons de cet effondrement : l'augmentation des dotations annuelles, l'emploi des soldats au benefice d'interets prives, les accaparements des riches, les destructions causees par les guerres, et latransformation des terres des colonies militaires en terres paysannes
The first chapter, which is also the introduction, presents the main referential historical documents, as well as the method employed. The second chapter is a description on the regime of the "colonies of armies" in the ming dynasty. In the third chapter, an analysis of the economic achievements of the "reclaimation colonies of armies" is made, focused on the provinces of hexi, yunnan and taiwan. Chapter four, it is mainly a distinction among the "reclaimation colonies" of armies, of peasants, and of merchants; their organisations, natures and achievements are particularly studied. Chapter five comes to the collapse of the regime of the "reclaimation colonies of armies". Finally, the thesis is concluded in chapter six

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Filipiak, Kai. "Krieg, Staat und Militär in der Ming-Zeit (1368 - 1644) ; Auswirkungen militärischer und bewaffneter Konflikte auf Machtpolitik und Herrschaftsapparat der Ming-Dynastie." Wiesbaden Harrassowitz, 2006. http://d-nb.info/990733971/04.

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Filipiak, Kai. "Krieg, Staat und Militär in der Ming-Zeit (1368-1644) : Auswirkungen militärischer und bewaffneter Konflikte auf Machtpolitik und Herrschaftsapparat der Ming-Dynastie /." Wiesbaden : Harrassowitz-Verlag, 2008. http://d-nb.info/990733971/04.

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魏城璧 and Sing-bik Cindy Ngai. "A study of court drama in the early Ming Dynasty." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221531.

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Lawrence, Marilyn Ann. "Wu Wei (1459-1508) and Lu Zhi (1496-1576) : the urban hermitage versus the peach blossom spring." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28101.

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This thesis focuses on two early and middle Ming (1368-1580) artists and deals with the role of Chinese historiography in the perpetuation of the dichotomy between the so-called "professional" and the so-called "scholar-amateur" artist. While traditional Chinese historical and biographical sources are an invaluable tool for the sinologist, including the Chinese art historian, the convention adopted by Chinese historians of casting subjects into standard characterized roles has contributed to this dichotomy and resulted in the ongoing debate over the value of the professional artist in China. Historically, Chinese critics and collectors have made a distinction between professional and amateur artists. The traditional Chinese critical bias has been in favour of the scholar-amateur artist. In fact, in much critical literature there is a stigma attached to professionalism in painting. The major initial Western studies of Chinese painting represented a continuation of the traditional Chinese dichotomies. More recently, various kinds of positions have been taken up by Western scholars. James Cahill suggests that a correlation can be made between an artist's painting style and social and economic factors (such as lifestyle, formal training, means of livelihood, demands of patrons, and so on). Richard Barnhart instead defends the professional artist: He believes that Cahill perpetuates the bias in favour of the amateur artist, and that a correlation between an artist's style and social and economic factors is not useful, being too restrictive and general. Their debate was taken up in a series of letters, and this debate has continued down to the present. Some of the most recent Western interpretations attempt to try to break down the earlier dichotomies, and my research supports this interpretive trend. In this context the thesis examines the life and works of two relatively minor artists of the Ming dynasty, the "professional" artist Wu Wei (1459-1508) and the "scholar-amateur" artist Lu Zhi (1496-1576). I discuss the Chinese biographical tradition and have translated the appropriate texts and biographies. Then by examining the paintings themselves in the context of the two artists' environments — Wu Wei in Beijing and Nanjing and Lu Zhi in Suzhou — I show that both of these artists enjoyed the freedom of working in a wide variety of different painting traditions. Early and middle Ming painting criticism is also examined, in addition to the influence of Late Ming (1580-1644) painting criticism and its effect on our perception of Chinese artists. In terms of style, aesthetics, and intellectual outlook, Wu Wei and Lu Zhi may, at first, appear to stand at opposite poles. However, my study of the life circumstances of Wu Wei and Lu Zhi reveals that they share surprisingly similar backgrounds, concerns, and views on their artwork. In addition, an examination of the works of these two artists suggests that a greater fluidity of style and of subject matter existed in the early and middle Ming period than one would expect from the theories based on Late Ming criticism. In other words, the distinction between professional and scholar-amateur artists is overdrawn: Wu Wei and Lu Zhi do not fit neatly into the later understandings of accepted categories or roles, nor do their paintings entirely accord with the theories originating in the Late Ming Period.
Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate

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Espesset, Grégoire. "Cosmologie et trifonctionalité dans l'idéologie du "Livre de la Grande paix" (Taiping jing)." Paris 7, 2002. https://tel.archives-ouvertes.fr/tel-00670888.

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En dépit d'une histoire textuelle problématique, le "Livre de la Grande paix (Taiping jing)" transmis par le "Canon taoi͏̈ste" de la dynastie des Ming (1368-1644) reflète incontestablement des idées enracinées dans la vision du monde de l'époque des Han (206 av. J-C - 220 ap. J-C). La cohérence de son contenu en apparence hétérogène réside dans l'idéologie tripartite qui sous-tend son substrat cosmologique et dépeint l'univers tout entier en une structure arborescente dérivant du modèle de base "Ciel-Terre-Homme". Dans cette idéologie, deux logiques triadiques s'opposent : (1) un processus ternaire de déclin dans lequel l'Homme est déchu de la perfection originelle et (2) un processus synthétique de retour à l'Unité dans lequel l'Homme incarne la ré-union harmonieuse des pôles de la binarité. La trifonctionnalité vitaliste du dispositif varie en conséquence [Troisième partie]. Cette étude comporte également une synthèse de l'histoire textuelle du "corpus de la Grande paix (Taiping)" et l'analyse philologique du matériau subsistant [Première partie] ainsi qu'un résumé analytique intégral de la version fragmentaire du "Livre de la Grande paix" qui apparaît dans le "Canon taoi͏̈ste", complétée d'un manuscrit de Dunhuang du British Museum de Londres (MS Stein 4226), qui date du second quart du VIIe siècle, et d'un recueil d'extraits du texte maître compilé au cours du Xe siècle [Deuxième partie]
Despite its problematic textual history, the "Book of Great Peace (Taiping jing)" transmitted in the Ming Dynasty (1368-1644) "Taoist Canon" clearly reflects ideas deeply rooted in the world-view of Han times (206 BC-220 AD). The cohesiveness of its outwardly heterogeneous content resides in the triadic ideology which underlies its cosmological substratum and depicts the whole universe as an arborescent structure derived from the basic "Heaven-Earth-Man" pattern. There is a conflict in this ideology between two forms of triadic logic : (1) a ternary process of decline in which Man has fallen from primordial perfection and (2) a synthetic process of reversion to Unity in which Man embodies the harmonious reuniting of the poles of binarity. The vitalist trifunctionality of the scheme fluctuates accordingly (Part III). .

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Books on the topic "1368-1644 (Dynastie des Ming)"

1

Das Kommunikationsamt (T'ung-cheng shih ssu) der Ming-Dynastie (1368-1644). Wiesbaden: O. Harrassowitz, 1996.

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Elite theatre in Ming China, 1368-1644. New York, NY: RoutledgeCurzon, 2005.

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Li, Guangbi. Ming chao shi lue. Taipei?: s.n., 1987.

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Ming China, 1368-1644: A concise history of a resilient empire. Lanham, Md: Rowman & Littlefield, 2011.

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1335-1393, Xu Fen, Yan Song 1480-1567, and Gu gong bo wu yuan (China), eds. Da ming tai zong huang di yu zhi ji. Haikou Shi: Hainan chu ban she, 2000.

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Lu qiao ji wen. Beijing shi: Jing hua chu ban she, 2001.

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Twitchett, Denis Crispin. The Cambridge history of China. Cambridge [u.a.]: Cambridge Univ. Press, 1998.

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Zhong yang yan jiu yuan. Li shi yu yan yan jiu suo, ed. Cong zheng shi lu. Taibei Shi: Zhong yang yan jiu yuan li shi yu yan yan jiu suo, 1996.

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Weiqi, Zhu, ed. Suo zhi lu. Hefei Shi: Huang Shan shu she, 2006.

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10

Xia xue ji. Beijing: Zhongguo she hui ke xue chu ban she, 1995.

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Book chapters on the topic "1368-1644 (Dynastie des Ming)"

1

Canepa, Teresa. "Chinese Porcelain: Late Ming (1366–1644) and Qing (1644–1911) Dynasties." In Encyclopedia of Global Archaeology, 1–3. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-51726-1_1336-2.

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Canepa, Teresa. "Chinese Porcelain: Late Ming (1366–1644) and Qing (1644–1911) Dynasties." In Encyclopedia of Global Archaeology, 1447–48. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-0465-2_1336.

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Canepa, Teresa. "Chinese Porcelain: Late Ming (1366–1644) and Qing (1644–1911) Dynasties." In Encyclopedia of Global Archaeology, 2323–26. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_1336.

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Miller, Harry. "The Restoration Society, 1628–1644." In State versus Gentry in Late Ming Dynasty China, 1572–1644, 139–63. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230617872_7.

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Hou, Renzhi. "Peking (1420–1911) of the Ming and Ch’ing Dynasties (1368–1911)." In An Historical Geography of Peiping, 95–126. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-55321-9_8.

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Miller, Harry. "Introduction: The Problem of Sovereignty in Traditional China." In State versus Gentry in Late Ming Dynasty China, 1572–1644, 1–29. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230617872_1.

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Miller, Harry. "Zhang Juzheng, 1572–1582." In State versus Gentry in Late Ming Dynasty China, 1572–1644, 31–54. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230617872_2.

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Miller, Harry. "The Righteous Circles, 1582–1596." In State versus Gentry in Late Ming Dynasty China, 1572–1644, 55–74. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230617872_3.

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Miller, Harry. "The Wanli Emperor, 1596–1606." In State versus Gentry in Late Ming Dynasty China, 1572–1644, 75–94. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230617872_4.

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Miller, Harry. "The Donglin Faction, 1606–1626." In State versus Gentry in Late Ming Dynasty China, 1572–1644, 95–123. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230617872_5.

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